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"content": "\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Two TV commercials that would fly totally under the radar in the U.S. have just been banned in the U.K. for perpetuating gender stereotypes.\u003c/p>\n\u003cp>In one for Philadelphia cream cheese, two new dads are shown at a sushi-style restaurant, getting distracted by the snacks on offer and almost losing their babies on the food carousel. As they make last minute grabs to retrieve their children, one of them says “Let’s not tell mum.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=avtzdOTbzbo\u003c/p>\n\u003cp>In the other, for Volkswagen electric e-Golf cars, a man is shown zipping up a tent on the side of a cliff while his female companion sleeps, male astronauts are seen functioning in zero gravity, a male athlete with a prosthetic leg performs a high jump, and a woman with a stroller is seen reading on a park bench. The images are accompanied by the tagline: “When we learn to adapt, we can achieve anything.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=U4tAVYvYz7U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to brand new rules, both of these were considered problematic enough for watchdog organization, the Advertising Standards Authority (ASA), to pull the commercials. The \u003ca href=\"https://www.asa.org.uk/news/harmful-gender-stereotypes-in-ads-to-be-banned.html\" target=\"_blank\" rel=\"noopener\">regulations\u003c/a>, adopted in June, also encompass standards for online ads, print media and billboards.\u003c/p>\n\u003cp>Late last year, the ASA’s Chief Executive, Guy Parker, told the BBC:\u003c/p>\n\u003cblockquote>\u003cp>“It’s going to be okay for an ad to show a woman shopping or cleaning. It’s going to be okay to show a man doing a DIY task in the home. What we’re going to be looking at is ads that go beyond that. Ads that paint the picture that it’s a woman’s role to tidy up after her family who’ve trashed the house—that it’s her job in life. We’re worried about that sort of depiction. Similarly ads that mock men for being hopeless at performing straightforward parental or household tasks just because they’re a man.”\u003c/p>\u003c/blockquote>\n\u003cp>Both Volkswagen and Mondelez (the makers of British Philadelphia) have \u003ca href=\"https://www.independent.co.uk/life-style/women/adverts-banned-volkswagen-car-philadelphia-cheese-advertising-standard-authority-gender-stereotypes-a9055561.html\" target=\"_blank\" rel=\"noopener\">objected\u003c/a> to the ASA’s decision to ban their ads. Mondelez claims it specifically chose to depict male parents in the Philadelphia commercial because most ads with babies feature women. VW argued that the sleeping woman in the car commercial “could be said to demonstrate not that she was passive, but that she was relaxed and comfortable in a hostile environment,” and that everyone else in the ad was “shown performing actions that were not stereotypical to one gender.”\u003c/p>\n\u003cp>The genesis for the new rules came in 2015, with an ad for a company called Protein World that featured a conventionally beautiful model in a yellow bikini, alongside the question \u003ca href=\"https://twitter.com/Independent/status/593532316258963456\" target=\"_blank\" rel=\"noopener\">“ARE YOU BEACH BODY READY?”\u003c/a> It caused uproar across the U.K., with critics vocalizing their disdain on social media, and, via graffiti, on the posters themselves. Over 70,000 people signed a \u003ca href=\"https://www.change.org/p/proteinworld-arjun-seth-remove-are-you-beach-body-ready-advertisements\" target=\"_blank\" rel=\"noopener\">petition to have the ads removed\u003c/a>, and \u003ca href=\"https://www.babble.com/body-mind/theres-no-such-thing-as-a-beach-ready-body/\" target=\"_blank\" rel=\"noopener\">women staged protests\u003c/a> in \u003ca href=\"https://www.theguardian.com/media/2015/apr/27/mass-demonstration-planned-over-beach-body-ready-tube-advert\" target=\"_blank\" rel=\"noopener\">London parks\u003c/a> and underground stations, in their own bikinis.\u003c/p>\n\u003cp>https://twitter.com/EscapologistFi/status/591222454208565248\u003c/p>\n\u003cp>In response to the furor, the ASA pulled the ad and launched an investigation.\u003c/p>\n\u003cp>Interestingly, both of the recently-banned TV commercials were also flagged by members of the British public, albeit in much smaller numbers. The Philadelphia one garnered 128 objections; the VW ad, only three. Five complaints were also \u003ca href=\"https://www.thedrum.com/news/2019/08/14/philadelphia-and-volkswagen-first-fall-foul-asas-gender-stereotyping-rules\" target=\"_blank\" rel=\"noopener\">reportedly filed\u003c/a> for a commercial for Buxton spring water (below), but the ASA concluded that it didn’t fall under their guidelines, as it merely showed people excelling at non-gender-specific passions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HpwpALIajak\u003c/p>\n\u003cp>Clarifying the goal of the new rules, \u003ca href=\"https://www.bbc.com/news/business-48628678\" target=\"_blank\" rel=\"noopener\">Parker told the BBC\u003c/a>. “Our evidence shows how harmful gender stereotypes in ads can contribute to inequality in society, with costs for all of us,” he said. “Put simply, we found that some portrayals in ads can, over time, play a part in limiting people’s potential.”\u003c/p>\n\u003cp>The nuances involved with deciding what gets pulled and what doesn’t are bound to prompt endless debate in the months to come, but the new advertising standards can’t help but utterly transform how products are sold to the British public. According to \u003ci>Adweek\u003c/i>‘s managing editor, that might have an impact on how the U.S. sells things too. “This could have a ripple effect throughout the ad industry,” \u003ca href=\"https://www.youtube.com/watch?v=8FyG5y4nXUU\" target=\"_blank\" rel=\"noopener\">Stephanie Paterik told \u003ci>Good Morning America\u003c/i>\u003c/a> two years ago, when the new rules were first announced. “While the regulation only applies to the U.K., it is very much a global industry—and advertising creatives are really attuned to what their peers are doing in other countries.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rumors that Carl’s Jr. will never, ever open a British restaurant now are unconfirmed, but probable.\u003c/p>\n\n",
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"excerpt": "New rules ban any and all gender stereotyping in advertising—and the first ads on the chopping block might surprise you. ",
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"title": "The First Ads Banned in the UK For Gender Stereotyping are Shockingly Un-Shocking | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two TV commercials that would fly totally under the radar in the U.S. have just been banned in the U.K. for perpetuating gender stereotypes.\u003c/p>\n\u003cp>In one for Philadelphia cream cheese, two new dads are shown at a sushi-style restaurant, getting distracted by the snacks on offer and almost losing their babies on the food carousel. As they make last minute grabs to retrieve their children, one of them says “Let’s not tell mum.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/avtzdOTbzbo'\n title='//www.youtube.com/embed/avtzdOTbzbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the other, for Volkswagen electric e-Golf cars, a man is shown zipping up a tent on the side of a cliff while his female companion sleeps, male astronauts are seen functioning in zero gravity, a male athlete with a prosthetic leg performs a high jump, and a woman with a stroller is seen reading on a park bench. The images are accompanied by the tagline: “When we learn to adapt, we can achieve anything.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U4tAVYvYz7U'\n title='//www.youtube.com/embed/U4tAVYvYz7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to brand new rules, both of these were considered problematic enough for watchdog organization, the Advertising Standards Authority (ASA), to pull the commercials. The \u003ca href=\"https://www.asa.org.uk/news/harmful-gender-stereotypes-in-ads-to-be-banned.html\" target=\"_blank\" rel=\"noopener\">regulations\u003c/a>, adopted in June, also encompass standards for online ads, print media and billboards.\u003c/p>\n\u003cp>Late last year, the ASA’s Chief Executive, Guy Parker, told the BBC:\u003c/p>\n\u003cblockquote>\u003cp>“It’s going to be okay for an ad to show a woman shopping or cleaning. It’s going to be okay to show a man doing a DIY task in the home. What we’re going to be looking at is ads that go beyond that. Ads that paint the picture that it’s a woman’s role to tidy up after her family who’ve trashed the house—that it’s her job in life. We’re worried about that sort of depiction. Similarly ads that mock men for being hopeless at performing straightforward parental or household tasks just because they’re a man.”\u003c/p>\u003c/blockquote>\n\u003cp>Both Volkswagen and Mondelez (the makers of British Philadelphia) have \u003ca href=\"https://www.independent.co.uk/life-style/women/adverts-banned-volkswagen-car-philadelphia-cheese-advertising-standard-authority-gender-stereotypes-a9055561.html\" target=\"_blank\" rel=\"noopener\">objected\u003c/a> to the ASA’s decision to ban their ads. Mondelez claims it specifically chose to depict male parents in the Philadelphia commercial because most ads with babies feature women. VW argued that the sleeping woman in the car commercial “could be said to demonstrate not that she was passive, but that she was relaxed and comfortable in a hostile environment,” and that everyone else in the ad was “shown performing actions that were not stereotypical to one gender.”\u003c/p>\n\u003cp>The genesis for the new rules came in 2015, with an ad for a company called Protein World that featured a conventionally beautiful model in a yellow bikini, alongside the question \u003ca href=\"https://twitter.com/Independent/status/593532316258963456\" target=\"_blank\" rel=\"noopener\">“ARE YOU BEACH BODY READY?”\u003c/a> It caused uproar across the U.K., with critics vocalizing their disdain on social media, and, via graffiti, on the posters themselves. Over 70,000 people signed a \u003ca href=\"https://www.change.org/p/proteinworld-arjun-seth-remove-are-you-beach-body-ready-advertisements\" target=\"_blank\" rel=\"noopener\">petition to have the ads removed\u003c/a>, and \u003ca href=\"https://www.babble.com/body-mind/theres-no-such-thing-as-a-beach-ready-body/\" target=\"_blank\" rel=\"noopener\">women staged protests\u003c/a> in \u003ca href=\"https://www.theguardian.com/media/2015/apr/27/mass-demonstration-planned-over-beach-body-ready-tube-advert\" target=\"_blank\" rel=\"noopener\">London parks\u003c/a> and underground stations, in their own bikinis.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In response to the furor, the ASA pulled the ad and launched an investigation.\u003c/p>\n\u003cp>Interestingly, both of the recently-banned TV commercials were also flagged by members of the British public, albeit in much smaller numbers. The Philadelphia one garnered 128 objections; the VW ad, only three. Five complaints were also \u003ca href=\"https://www.thedrum.com/news/2019/08/14/philadelphia-and-volkswagen-first-fall-foul-asas-gender-stereotyping-rules\" target=\"_blank\" rel=\"noopener\">reportedly filed\u003c/a> for a commercial for Buxton spring water (below), but the ASA concluded that it didn’t fall under their guidelines, as it merely showed people excelling at non-gender-specific passions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HpwpALIajak'\n title='//www.youtube.com/embed/HpwpALIajak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clarifying the goal of the new rules, \u003ca href=\"https://www.bbc.com/news/business-48628678\" target=\"_blank\" rel=\"noopener\">Parker told the BBC\u003c/a>. “Our evidence shows how harmful gender stereotypes in ads can contribute to inequality in society, with costs for all of us,” he said. “Put simply, we found that some portrayals in ads can, over time, play a part in limiting people’s potential.”\u003c/p>\n\u003cp>The nuances involved with deciding what gets pulled and what doesn’t are bound to prompt endless debate in the months to come, but the new advertising standards can’t help but utterly transform how products are sold to the British public. According to \u003ci>Adweek\u003c/i>‘s managing editor, that might have an impact on how the U.S. sells things too. “This could have a ripple effect throughout the ad industry,” \u003ca href=\"https://www.youtube.com/watch?v=8FyG5y4nXUU\" target=\"_blank\" rel=\"noopener\">Stephanie Paterik told \u003ci>Good Morning America\u003c/i>\u003c/a> two years ago, when the new rules were first announced. “While the regulation only applies to the U.K., it is very much a global industry—and advertising creatives are really attuned to what their peers are doing in other countries.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rumors that Carl’s Jr. will never, ever open a British restaurant now are unconfirmed, but probable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o47CwiJLpes\u003c/p>\n\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hhcoUnzMZw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o47CwiJLpes'\n title='//www.youtube.com/embed/o47CwiJLpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2hhcoUnzMZw'\n title='//www.youtube.com/embed/2hhcoUnzMZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Season 3 of 'Legion' Ends With Less Telepathy, More Empathy",
"headTitle": "Season 3 of ‘Legion’ Ends With Less Telepathy, More Empathy | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zblbNYyv0A\u003c/p>\n\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6zblbNYyv0A'\n title='//www.youtube.com/embed/6zblbNYyv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Old Gang is Back Together in 'BH90210' ... Sort Of",
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"content": "\u003cp>How do you do a reboot when there’s absolutely no reason to do a reboot?\u003c/p>\n\u003cp>The characters on \u003cem>Beverly Hills, 90210 \u003c/em>were never particularly interesting. They were generic rich high-school students who grew into generic rich college students and then generic rich adults. They had money to chase their dreams regardless of talent (Owning a club! Running a newspaper! Having a boutique!). Their problems (Stalking! Diet pill addiction! Gambling addiction! Cocaine addiction! Meth addiction! Joining a cult!) would, in most cases, flare up and then go away, specifically because without them, there was no plot other than everyone sleeping with each other.\u003c/p>\n\u003cp>In short, there is no ever-loving reason to revisit any of these ding-dongs.\u003c/p>\n\u003cp>Refreshingly, the makers of the new show \u003cem>BH90210\u003c/em>, a nostalgia product for people who miss the original show, know there’s no reason to. So they don’t try. Instead, what begins Wednesday night on Fox is a scripted show about the actors trying to decide whether to revive the teen soap they were on when they were young. And all those actors play themselves. Get it? So you’re not catching up with Brenda and Brandon; you’re catching up with Shannen Doherty and Jason Priestley, playing fictionalized versions of themselves in a kind of showbiz comedy-drama-soap-farce about a potential \u003cem>90210 \u003c/em>reboot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YcWKGy7df5o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are strong resemblances between the fictionalized versions of these actors and the real ones: Like the real Gabrielle Carteris, the one on the show is the president of the actors’ guild, and like the real Tori Spelling, the scripted one has had financial problems after using reality television to support herself and her large family for years. But the spouses are played by actors and the details are made up and so forth.\u003c/p>\n\u003cp>[Side note: Let’s just say that when I refer to an actor by first name, like “Tori,” I mean the fictional version. When I refer to an actor by last name, like “Spelling,” I mean the actual actor. It will make things … well, marginally clearer.]\u003c/p>\n\u003cp>In the first episode, the cast (Jason, Tori, Gabi, Jennie Garth, Ian Ziering, and Brian Austin Green) gets together at an anniversary panel. After they share a wild night of light infidelity and petty theft, Tori decides that the way to pay her many overdue bills is to convince everybody to come back together for a \u003cem>90210 \u003c/em>reboot. But they may also need Shannen—that’s Shannen Doherty—who we learn is off running an animal sanctuary and has been semi-estranged from the cast for years. (Another element borrowed from real-life rumors, at the very least.) There is a reasonably classy acknowledgment that a core cast member, Luke Perry, has died, but Tori hypothesizes that the rest of them just might be able to rally and put on a new show.\u003c/p>\n\u003cp>On the one hand, this is a very strange way to make a reboot. It’s not even of any potential value to anybody who isn’t looking at it as nostalgia—in no way would this hold up as a new Fox comedy for a curious person coming to it fresh. There is no straight-faced argument for it as an independent piece of work.\u003c/p>\n\u003cp>But as a nostalgic doodad, which is all that a lot of these reboots are anyway? It’s kind of cute. And, as previously mentioned, strange.\u003c/p>\n\u003cp>There’s no question that they’re flirting with a kind of uncanny San Fernando Valley, where the fictionalized actors are fake but also real, but also fake, \u003cem>ad infinitum\u003c/em>. Because Spelling is in fact an executive producer of \u003cem>BH90210\u003c/em>, just as fictional Tori is driving the reboot and trying to get everyone on board. Brian is married to a very famous woman, just as Green is married to Megan Fox. Jennie has had a couple of failed marriages, just like Garth, and Jason really wants to direct, just like Priestley.\u003c/p>\n\u003cp>There are a certain number of silly meta-jokes, like the fact that Tori’s husband is played by Ivan Sergei, who was Spelling’s co-star in the legendarily campy TV movie \u003cem>Mother May I Sleep With Danger?\u003c/em> It’s hard not to think that a moment in which Jason is kicked right in the Priestley, as it were, is meant as a little gift to people who found Brandon Walsh to be a self-righteous gasbag. (He was one, FYI.)\u003c/p>\n\u003cp>It’s hard to give a proper critique of something like this. It’s more like a bonus feature on a DVD than anything else. They’ve only given critics the first two episodes, and Shannen hasn’t even joined the group yet, so who knows how committed they are to making this as wild as it might be. But perhaps because expectations were lower than the top of Brandon’s head (he was short, you see), I must admit that I chuckled at its audacious weirdness. It’s the kind of thing that passes the time while you fold the laundry, and then you never think about it again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some days, that’s a blessing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Old+Gang+Is+Back+Together+In+%27BH90210%2C%27+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are strong resemblances between the fictionalized versions of these actors and the real ones: Like the real Gabrielle Carteris, the one on the show is the president of the actors’ guild, and like the real Tori Spelling, the scripted one has had financial problems after using reality television to support herself and her large family for years. But the spouses are played by actors and the details are made up and so forth.\u003c/p>\n\u003cp>[Side note: Let’s just say that when I refer to an actor by first name, like “Tori,” I mean the fictional version. When I refer to an actor by last name, like “Spelling,” I mean the actual actor. It will make things … well, marginally clearer.]\u003c/p>\n\u003cp>In the first episode, the cast (Jason, Tori, Gabi, Jennie Garth, Ian Ziering, and Brian Austin Green) gets together at an anniversary panel. After they share a wild night of light infidelity and petty theft, Tori decides that the way to pay her many overdue bills is to convince everybody to come back together for a \u003cem>90210 \u003c/em>reboot. But they may also need Shannen—that’s Shannen Doherty—who we learn is off running an animal sanctuary and has been semi-estranged from the cast for years. (Another element borrowed from real-life rumors, at the very least.) There is a reasonably classy acknowledgment that a core cast member, Luke Perry, has died, but Tori hypothesizes that the rest of them just might be able to rally and put on a new show.\u003c/p>\n\u003cp>On the one hand, this is a very strange way to make a reboot. It’s not even of any potential value to anybody who isn’t looking at it as nostalgia—in no way would this hold up as a new Fox comedy for a curious person coming to it fresh. There is no straight-faced argument for it as an independent piece of work.\u003c/p>\n\u003cp>But as a nostalgic doodad, which is all that a lot of these reboots are anyway? It’s kind of cute. And, as previously mentioned, strange.\u003c/p>\n\u003cp>There’s no question that they’re flirting with a kind of uncanny San Fernando Valley, where the fictionalized actors are fake but also real, but also fake, \u003cem>ad infinitum\u003c/em>. Because Spelling is in fact an executive producer of \u003cem>BH90210\u003c/em>, just as fictional Tori is driving the reboot and trying to get everyone on board. Brian is married to a very famous woman, just as Green is married to Megan Fox. Jennie has had a couple of failed marriages, just like Garth, and Jason really wants to direct, just like Priestley.\u003c/p>\n\u003cp>There are a certain number of silly meta-jokes, like the fact that Tori’s husband is played by Ivan Sergei, who was Spelling’s co-star in the legendarily campy TV movie \u003cem>Mother May I Sleep With Danger?\u003c/em> It’s hard not to think that a moment in which Jason is kicked right in the Priestley, as it were, is meant as a little gift to people who found Brandon Walsh to be a self-righteous gasbag. (He was one, FYI.)\u003c/p>\n\u003cp>It’s hard to give a proper critique of something like this. It’s more like a bonus feature on a DVD than anything else. They’ve only given critics the first two episodes, and Shannen hasn’t even joined the group yet, so who knows how committed they are to making this as wild as it might be. But perhaps because expectations were lower than the top of Brandon’s head (he was short, you see), I must admit that I chuckled at its audacious weirdness. It’s the kind of thing that passes the time while you fold the laundry, and then you never think about it again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some days, that’s a blessing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Old+Gang+Is+Back+Together+In+%27BH90210%2C%27+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hulu's 'Four Weddings and a Funeral' Can't Live Up to the Classic Romcom",
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"content": "\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=604JeF9RNu8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/604JeF9RNu8'\n title='//www.youtube.com/embed/604JeF9RNu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Before Sykes became a comic, she worked at the National Security Agency, where she had top security clearance. Now she takes on the president in her Emmy-nominated Netflix special\u003cem> Not Normal.\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Jane The Virgin' Ends on a High Note",
"headTitle": "‘Jane The Virgin’ Ends on a High Note | KQED",
"content": "\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9gIwn5llbTM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m-UKG1gCJnE\u003c/p>\n\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. I assumed everyone distrusted Michael in the same way I did; I assumed Jane getting past her guilt-tripping, kind of possessive boyfriend was what the show was about. And there came a time in the third season when I felt like the deck was overwhelmingly becoming stacked—Michael was suddenly perfect, everything he did was right, all his flaws had vanished, he and Jane were a perfect couple, they got married, and it seemed very boring to me. But then when he died, I felt like I understood what the writers had been doing, particularly as the third and fourth seasons tackled Jane’s grief.\u003c/p>\n\u003cp>So when he came back this season, I thought, “Oh, \u003cem>no\u003c/em>.” Even though Michael seemed to have recovered from his early Nice Guy Syndrome (not the problem of being a nice guy, but the problem of seeming embittered by not getting everything he wanted from the woman he wanted simply because he’s such a nice guy), I still didn’t want that ending. Just as other people won’t want this one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9gIwn5llbTM'\n title='//www.youtube.com/embed/9gIwn5llbTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m-UKG1gCJnE'\n title='//www.youtube.com/embed/m-UKG1gCJnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. I assumed everyone distrusted Michael in the same way I did; I assumed Jane getting past her guilt-tripping, kind of possessive boyfriend was what the show was about. And there came a time in the third season when I felt like the deck was overwhelmingly becoming stacked—Michael was suddenly perfect, everything he did was right, all his flaws had vanished, he and Jane were a perfect couple, they got married, and it seemed very boring to me. But then when he died, I felt like I understood what the writers had been doing, particularly as the third and fourth seasons tackled Jane’s grief.\u003c/p>\n\u003cp>So when he came back this season, I thought, “Oh, \u003cem>no\u003c/em>.” Even though Michael seemed to have recovered from his early Nice Guy Syndrome (not the problem of being a nice guy, but the problem of seeming embittered by not getting everything he wanted from the woman he wanted simply because he’s such a nice guy), I still didn’t want that ending. Just as other people won’t want this one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
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"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Secret Obsession': Six Unforgettable Lessons From Netflix's Imperiled Amnesiac",
"headTitle": "‘Secret Obsession’: Six Unforgettable Lessons From Netflix’s Imperiled Amnesiac | KQED",
"content": "\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nc6loZU3kjQ\u003c/p>\n\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix has been going through all the cable TV genres and trying to elbow its way into them, one at a time. Hallmark movies, Nat Geo Wild vet shows, Food Network food competitions, comedy specials, travel specials … it makes sense that here, they’re right in the heart of Imperiled Lady Theater. This is a pretty bad movie, but it seems to be bad in the way it’s meant to be bad. It’s cheerfully trashy, and if that’s up your alley, have at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Secret+Obsession%27%3A+Six+Unforgettable+Lessons+From+Netflix%27s+Imperiled+Amnesiac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Brenda Song stars in Netflix's version of the Woman In Danger thriller, in which she is sent home with a stranger by the worst hospital in the world. Unintentional hilarity ensues.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Nc6loZU3kjQ'\n title='//www.youtube.com/embed/Nc6loZU3kjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix has been going through all the cable TV genres and trying to elbow its way into them, one at a time. Hallmark movies, Nat Geo Wild vet shows, Food Network food competitions, comedy specials, travel specials … it makes sense that here, they’re right in the heart of Imperiled Lady Theater. This is a pretty bad movie, but it seems to be bad in the way it’s meant to be bad. It’s cheerfully trashy, and if that’s up your alley, have at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Secret+Obsession%27%3A+Six+Unforgettable+Lessons+From+Netflix%27s+Imperiled+Amnesiac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\n\u003cp>https://youtu.be/XSs599e3yZ4\u003c/p>\n\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XSs599e3yZ4'\n title='//www.youtube.com/embed/XSs599e3yZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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